02 Nov 2008
Boston Baroque’s Xerxes shows the way
Is Boston Baroque period performance’s best kept secret?
Wigmore Hall has announced the 25 young singer and pianist duos from around the world who have been shortlisted for this prestigious competition, which takes place at Wigmore Hall in September with the generous support of the Kohn Foundation. Details were announced on 27 April during a recital by Milan Siljanov, who won top prize in the 2015 Competition.
Garsington Opera's thrilling new commission for the 2017 Season, Silver Birch, will feature over 180 participants from the local community aged 8-80, including students from primary and secondary schools, members of the local military community, student Foley artists under the guidance of Pinewood Studios and members of Wycombe Women’s Aid.
Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.
On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.
Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”
Is A Dog’s Heart even an opera? It is sung by opera singers to live music. Alexander Raskatov’s score, however, is secondary to the incredible stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at opera is fantastic theatre. Its revival at Dutch National Opera, where it premiered in 2010, is hugely welcome.
In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.
Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.
Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments: “I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a stunning discovery. He floored me with his tenor voice through which he embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of watching a flea-ridden dog chasing its own tail for one-and-half hours. It scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you can’t bring yourself to care for such a foolish animal and its less-than-tragic plight.
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
Is Boston Baroque period performance’s best kept secret?
Certainly, Martin Pearlman’s band has been out there on CD as well as live performance since 1973, but somehow, they’ve never quite garnered the international renown that is more than their due. Perhaps that is down to the very nature of their home city — sequestered as they are in leafy streets and squares, an academic island insulated from the hue and cry of New York’s glitzier scene — let alone the period powerhouses across the Atlantic. Perhaps it is just their choice? If so, that’s lucky for their European competitors, some of whom might have to look to their laurels.
Boston Baroque have a fine record of producing Handelian opera with limited space and resources and with their most recent Xerxes, presented semi-staged by first-time opera director Paul Peers in the fine acoustic of Jordan Hall, (seating 1100), they have succeeded again. The key to this Xerxes was the integration of a fine cast of mainly young singers with a band that has this musical idiom in their very fibre, and a lean semi-staging by Paul Peers that used the limited space to good effect without making the mistake of imposing too much business onto music and a sparkling libretto that doesn’t need it. The musicians were seated centrally on the stage, and the singers moved around, behind and in front of them, using various exits (and the auditorium itself occasionally) to give visual variety. Dress was modern, unexciting but acceptable.
If Handel didn’t have much success with this opera at its London opening (it only lasted 5 nights) and was soon moving on into the more reliable world of oratorio, this is no reflection on his genius. It was simply that Xerxes was just too explorative, too outré, too challenging in its musical design, for the opera seria buffs of 1738. For a start, many of the arias don’t follow the set pattern of A-B-A of the time; there are less formal, more flowing sections of arioso and chatty recitative that move the action forward without so many regular stops for star-vehicle arias. And there is, of course, with the Elviro servant character, out and out comedy, almost buffo, that hardly fitted the pattern of the day. There is the usual romantic cats-cradle of mistaken identity, forbidden love, and jealousies of course, but this is a more tender, more emotional, exploration of humanity’s foibles than Handel often pursued.
The casting of baroque opera in the USA is less problematic than it used to be back when Boston Baroque was in the vanguard of period performance. More conservatories are now including period performance practice in their curricula, but it’s still not mainstream in the way that it often is in the capitals of Europe. For young singers fighting for work in America it’s tough, and they have to be adaptable — and take every opportunity to learn from specialists like Martin Pearlman and Boston Baroque. This particular cast was, by and large, — considering the results — surprisingly inexperienced in the genre: the more to their, and Pearlman’s credit.
On the female side, only soprano Amanda Forsythe as the foxy, feisty Atalanta, forever interfering, could be described as au fait with Handel and if she was tempted on occasion to over-egg the comedy, it was an appealing performance that showcased some brilliant highwire work. Equally pleasing to the ear was mezzo Leah Wood in the difficult role of the wronged and rather out-of-sorts Amastre, although a little more volume might have helped her in her more declamatory music which she sang with commitment and a warm steady tone throughout. Marie Lenormand took the role of prince Arsamenes, often these days sung successfully by countertenors, and although she sang with great expressiveness her soft-grained mezzo soprano and natural femininity of movement rather prevented her from fully inhabiting the character — a lovely young singer, but rather miscast here. An exciting voice for the future is talented Texan soprano Ava Pine who sang the role of Romilda, beloved by both King Xerxes and his brother Arsamenes. She belied her inexperience in the genre to give a riveting performance that grew with every scene, her richly expressive soprano under fine control throughout, with plenty of dynamic on tap when needed.
With the male performers, without doubt the star of the show was male soprano Michael Maniaci in the title role. Maniaci, experienced in both baroque and classical style, has a growing and deserved reputation as a fine young singer with some recent major successes both in North America and Europe (his Armando in the recently released DVD of the Fenice production of Meyerbeer’s Il Crociato in Egitto caused quite a stir), and this was his first attempt at a role which up to now has almost always, for obvious reasons, gone to period-specialist mezzos. It was the right decision as the role was perfect for his dark-hued soprano; it would be good to hear him as Xerxes again elsewhere, or even recorded at some future date. He has a unique timbre, with power to spare, a great facility for coloratura at dizzying heights and yet also the ability to spin long lines with tender expressivity when required. If Maniaci had the showpieces, then Michael Scarcelle enjoyed the comic possibilities of the servant Elviro, his agile dark baritone flipping up easily into pantomime falsetto and his athletic figure skipping easily up and down the auditorium steps for the “drag” scene of the “flower-seller”. Supporting the whole pyramid of Handelian voices was the resonant bass of Mark Schnaible as the dopey general Ariodate; it was good to hear this role sung by a low voice in its prime. The chorus of Boston Baroque sang and marched confidently as required, their obvious facility with the genre matching their excellent intonation and diction.
Throughout all, Martin Pearlman, conducting (when not pestered by Atalanta) his 25-strong band with verve, precision and great rhythm, kept a supporting eye and ear out for his singers and got the dynamic balance exactly right. This was high-class Handel, and if only Boston got to hear it for two nights, then that was Boston’s good fortune.
Sue Loder © 2008